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Wikimedia Commons · Public domain · Hover to magnify, click for fullscreen
Original fileafter Hendrick Goltzius
The scene depicts four adults and a child in a state of destitution. One man desperately chews a bare bone while a dog watches, while another man sits despondently, holding open a completely empty leather money pouch. In the background, a man laughs mockingly at their plight, emphasizing the moralizing nature of the image.
This print serves as a moral allegory on the Wheel of Fortune and human accountability. The inscription explicitly rejects blaming fate (Rota Fortunae), instead attributing their poverty to 'Vesania nostra' (our own madness or folly), reflecting Northern Renaissance ethical philosophy on the stewardship of life and resources.
6 C. Mander Inve. Dum vestirentur prima lanugine malae, Tum vigor aetatis Trieterica, et orgia amabat; Nunc deploramus vacuae eheu damna crumenae, Futilibus querimur transactaq[ue] tempora nugis. Tunc pernas largè, nunc arida rodimus ossa, Tunc Croesi, et Crassi, nunc Iri cardine verso. Hec rota Fortunae non est, Vesania nostra est, Dicere, quàm miserum est, habui; quàm botrus amarus. Een ijdel buydel maeckt het hert t'onvreden, Den tijdt voorleden, moeten wy beclaghen: Doen wy van het speck al te diepe sneden, T'hammeken is op wy moeten t'hielken knaghen.
Translation
6 C. Mander Inve. While the first down was clothing the cheeks, Then the vigor of youth loved the Trieterica and the orgies; Now we lament the losses of an empty purse, alas, We complain of past times with trivial trifles. Then we gnawed on hams abundantly, now on dry bones, Then we were Croesus and Crassus, now Irus, the hinge having turned. This is not the wheel of Fortune, it is our own madness, To say, how miserable it is, I had; how bitter the grape. A vain purse makes the heart discontented, The time passed, we must lament: When we cut the bacon all too deeply, The little ham is gone, we must gnaw the little heel.
Karel van Mander
Van Mander is credited as the 'inventor' (designer) of this composition, which aligns with the moral theories later published in his Schilder-boeck.
Boethius
The inscription directly references the 'Wheel of Fortune' (Rota Fortunae), a concept popularized by Boethius, though it subverts it by blaming human folly instead of blind luck.
Object
National Gallery of Art, Washington
Engraving
allegory
Digital Source
Wikimedia Commons · Public domain
National Gallery Of Art
Public domain
2018 × 3000 px
b2ed2d69185d569b42a436e77720372f4e8ce93f
December 12, 2014
March 23, 2026
Linked Data
AI AI-cataloged fields generated by gemini-3-flash-preview on April 1, 2026. Getty identifiers are AI-inferred and may require verification.